B-Side Guys

Welcome to bsideguys.com’s September New Releases roundup, your essential guide to the freshest sounds hitting the airwaves as summer fades into fall. This month, we’re bringing you a diverse array of tracks that capture the changing moods of the season, from wistful indie anthems to energetic bangers perfect for those last warm nights.

Our team has sifted through countless releases to bring you the cream of the crop, offering insightful analysis and context for each track. We’ve got emerging artists making bold statements with their debuts, established acts pushing the boundaries of their sound, and everything in between.

Whether you’re looking to discover your next favorite band, stay ahead of the musical curve, or simply find the perfect soundtrack for your September adventures, we’ve got you covered. From dreamy bedroom pop to hard-hitting rock, and soulful R&B to experimental electronica, this month’s selection spans genres and emotions.

So grab your headphones, brew a warm beverage, and join us as we explore the most exciting new music September has to offer. Let’s dive in and see what sonic treasures await us as we transition into autumn!

The Holy Knives – “Damned”

The Holy Knives’ “Damned” is a captivating blend of indie rock and Western-tinged soundscapes that showcases the Valentine brothers’ ability to craft atmospheric yet groove-driven tracks. The production, helmed by Jamie Hince of The Kills, likely adds a layer of gritty polish to the band’s downtempo sound, creating a sonic landscape that’s both expansive and intimate. Kody Valentine’s baritone vocals, reminiscent of Leonard Cohen’s gravitas, anchor the track with a sense of world-weary wisdom.

Thematically, “Damned” delves into the realm of escapism, exploring the various ways we seek respite from our anxieties and self-doubt. The song’s structure likely mirrors this concept, with moments of tension giving way to more liberated, expansive sections. As the lead single from their upcoming EP “I Don’t Wanna Win,” “Damned” not only demonstrates The Holy Knives’ musical growth but also positions them as skilled storytellers in the indie rock scene. Their ability to blend cinematic influences with modern production techniques creates a sound that’s both nostalgic and fresh, inviting listeners into a world where music serves as a sacred weapon against the harsh realities of everyday life.

Ohvaur – “Altered Endings”

Ohvaur’s “Altered Endings” is a poignant exploration of life’s diverging paths, blending indie rock sensibilities with emo introspection and dream pop atmospherics. The track, co-written by frontman Timothy Den and his longtime collaborator Evan Rifas, creates a sonic landscape that’s both intimate and expansive, mirroring the song’s themes of parallel realities and phantom yearnings. Den and Rifas’ vocal harmonies likely intertwine throughout the song, creating a haunting duality that reflects the narrative’s exploration of “what ifs” and alternate lives.

Thematically, “Altered Endings” delves deep into the concept of identity shaped by major life decisions, with Den’s personal history of immigration across three continents serving as a backdrop. The song takes on additional emotional weight in light of Rifas’ recent personal tragedy, transforming it from a philosophical musing into a heart-wrenching meditation on loss and missed opportunities. As part of Ohvaur’s album “Intertwined,” produced by Matt Wallace with input from Faith No More’s Bill Gould, “Altered Endings” not only showcases the band’s musical evolution but also positions them as skilled storytellers capable of translating complex emotional experiences into compelling indie rock. This track suggests an album that will resonate deeply with listeners grappling with life’s many endings and the preciousness of the moments in between.

Hackney Colliery Band – “Crazy Focus” feat. DJ Yoda

Hackney Colliery Band’s “Crazy Focus” is a blistering fusion of funk and jazz that showcases the East London outfit’s ability to push the boundaries of traditional brass band conventions. The collaboration with DJ Yoda injects a hip-hop sensibility into HCB’s already expansive sound, resulting in a track that’s both rooted in jazz tradition and firmly planted in contemporary urban soundscapes. The interplay between the twelve-piece brass ensemble and Yoda’s turntablism creates a dynamic tension that propels the song forward with irresistible energy.

As an instrumental piece, “Crazy Focus” allows each musician’s virtuosity to shine while maintaining a cohesive, groove-driven structure. The track’s production likely balances the warmth of live brass instruments with the crisp, electronic elements of hip-hop, creating a sonic palette that’s both organic and cutting-edge. This single not only demonstrates Hackney Colliery Band’s continued evolution since their inception in 2009 but also positions them as innovators in the contemporary jazz fusion scene. As the third single from their upcoming album “Collaborations: Volume Two,” “Crazy Focus” suggests a collection that will further cement HCB’s reputation for breaking musical boundaries and creating joyous, genre-defying compositions.

OOMASOOMA – “Blanket The Stars”

OOMASOOMA’s “Blanket The Stars” is a genre-bending exploration of indie and alt-pop that showcases Timo Ellis’s versatility as a multi-instrumentalist and producer. The track’s structure, evolving from a “droll indie rock vibe” to a “soaring emo/post-rock chorus,” demonstrates Ellis’s ability to seamlessly blend disparate musical influences into a cohesive whole. This sonic journey mirrors the song’s thematic progression, creating a musical landscape that’s as complex and layered as its lyrical content.

Lyrically, “Blanket The Stars” delves into weighty themes of mortality and cultural entrapment, with Ellis describing it as a “mellow meditation on death.” The song’s exploration of how seemingly liberating cultural rituals can morph into sinister traps adds a depth of social commentary to its introspective core. As part of the forthcoming album “ENDLESS FUTURE,” “Blanket The Stars” positions OOMASOOMA as a project that’s not afraid to tackle profound subjects while pushing the boundaries of pop music conventions. Ellis’s extensive collaborative background, having worked with artists ranging from Yoko Ono to Mark Ronson, infuses the track with a rich tapestry of influences, resulting in a sound that’s both familiar and refreshingly innovative.

Specific Coast – “Cold September”

Specific Coast’s “Cold September” is a wistful indie folk gem that captures the melancholy of autumn and lost love. Matt Dunne’s production creates a sonic landscape that blends traditional folk instrumentation with contemporary elements, evoking comparisons to S. Carey and Novo Amor. The track’s atmospheric soundscape perfectly complements its introspective lyrics, creating a mood that’s both nostalgic and introspective.

Lyrically, “Cold September” delves deep into the lingering pain of a past relationship, with lines like “You know what hurts the most / Might be that we’re not talking” setting a tone of regret and longing. The recurring motif of the changing seasons serves as a poignant metaphor for the passage of time and the persistence of memory. Dunne’s vocals, likely delivered with a gentle vulnerability, bring these emotions to life, inviting listeners to reflect on their own experiences of love and loss. As a follow-up to Specific Coast’s successful “Trying My Best EP,” “Cold September” not only showcases Dunne’s growth as a songwriter but also positions the project as a rising voice in the indie folk scene, crafting music that resonates deeply with anyone who’s ever felt the chill of a love grown cold.

Ella Jinks – “Maybe In Another Life”

Ella Jinks’ “Maybe In Another Life” is a captivating blend of singer-songwriter intimacy and dream pop atmospherics that showcases the London-based artist’s growing confidence and maturity. The track’s production, helmed by Matt Ingram (known for his work with Florence + The Machine and Laura Marling), creates a rich, tender soundscape that perfectly complements Jinks’ breathtaking vocal performance. The song’s warm, wistful tone serves as an ideal backdrop for its exploration of endings and the difficulty of letting go.

Lyrically, “Maybe In Another Life” delves into the universal experience of imagining alternate scenarios where relationships might have worked out differently. Jinks’ ability to convey complex emotions through her songwriting belies her 24 years, with her rich, sonorous vocals imbuing each word with a depth of feeling that resonates deeply with listeners. As her first release since her debut EP ‘Conversations,’ this single not only demonstrates Jinks’ growth as an artist but also positions her as a rising star in the adult contemporary scene. Her ability to blend classic songwriting influences like Joni Mitchell with contemporary production techniques results in a sound that’s both timeless and freshly relevant, marking Ella Jinks as an artist to watch in the evolving landscape of emotive, introspective pop.

John Calvin – “High Is My Favorite Height”

John Calvin’s “High Is My Favorite Height” is a wistful folk meditation on perspective and growth. The track’s production likely creates an atmospheric soundscape that complements Calvin’s introspective lyrics, with subtle instrumentation supporting his vocals. The song’s structure mirrors its thematic journey, building from quieter, more reflective verses to a more expansive chorus.

Lyrically, Calvin explores the contrast between youthful turmoil and the wisdom of age, using the metaphor of height to represent changing perspectives. The song’s title, inspired by a comment from Calvin’s young son about overpasses, takes on deeper meaning as Calvin reflects on past struggles and present clarity. References to colors like purple and green add a psychedelic touch to the narrative, hinting at altered states of consciousness as pathways to understanding. “High Is My Favorite Height” showcases Calvin’s skill as a songwriter, blending personal experience with universal themes of growth and self-discovery in a way that’s both introspective and relatable.

Dan Pallotta – “Voice In My Head”

Dan Pallotta’s “Voice In My Head” is a haunting folk exploration of intrusive thoughts and existential anxiety. The sparse production, featuring acoustic guitar and subtle dobro and lap steel, creates an intimate sonic landscape that mirrors the isolation often felt when grappling with inner demons. Pallotta’s decision to place his vocals prominently in the mix heightens the sense of immediacy and vulnerability in the song’s narrative.

Lyrically, “Voice In My Head” delves into the relentless nature of anxious thoughts, with Pallotta giving voice to a range of common fears from financial insecurity to concerns for loved ones. The recurring refrain of “Got a voice in my head / Don’t shut up / Says something bad’s gonna happen / But it don’t say what” captures the vague yet persistent nature of anxiety. Pallotta’s songwriting shines in his ability to blend specific personal experiences with universal themes, creating a piece that resonates with anyone who’s ever been plagued by worrisome thoughts. As a follow-up to his recent releases, this track demonstrates Pallotta’s growth as a songwriter and his commitment to exploring the human condition through music.